JUNE,  1900  REMBRANDT  PRICE,  25  CENTS 

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PART  6  VOLUME  I 


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MASTEKS  IX  APT.      PLATE    I. 

fHOTOGUArH    BY    «RAUH,   CLEM£NT   *   CIS 


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MASTERS    IX    ART, 

PHOTOGRAPH   BY   HA 


PLATE  in. 


JIK.MIiKAXDT 
TRAIT   OF  A  IiADT 

liechtenstki.y  gallery,  viej^ista 


MASTKHS  IN  AHT, 

PHOTOGRAPH    8Y   H«l 


PLATE   IV. 


HKMHKAIfDI 

POKTHAIT  OK  SASKIA 

CASSEL  GAIjIjKKT 


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ANTWKHP  MUSEUM 


MASTERS   I.V   ART.      PLATE  VII. 

PHOTOGRAPH   BY   HANFSTAENGL 


BKMBRANDT 
PORTRAIT  OF  ELIZABETH  RAS 
RYKS  MUSEUM,  AMSTERDAM 


MASTERS  IX  A.KT.      PLATE   VIII. 

OTOQRAPH    BY  BRAUN,  CLEMENT  4   CIE. 


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CHKIST  AT  EMMAUS 

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POHTHAIT  OF  HEHBHANDI  BT  HIMSELF  LOUVEE,  PARIS 

Rembrandt  painted  more  than  forty  portraits  of  himself,  in  many  aspects  and  va- 
rious fantastical  costumes.  Although  probably  few  of  them  can  be  described  as 
accurate  likenesses,  it  is  clear  that  he  was  a  strong  man,  of  ordinary  figure,  with  a 
thick  nose,  coarse  but  firm  mouth  framed  with  a  stiff  moustache  and  imperial,  and 
dark,  piercing  eves.  The  portrait  here  reproduced  was  painted  in  1633,  and  shows 
him  clad  in  a  violet  velvet  mantle  with  a  jewelled  gold  chain  about  his  shoulders. 


MASTERS    IN    ART 


lirmtnanTrt  tan  l&ijn 


BORN    1606:  DIED    166  9 
DUTCH   SCHOOL 


UNTIL  within  the  last  half-century  the  generally  accepted  story  of  Rembrandt's 
life  was  made  up  of  a  collection  of  fictitious  statements,  the  falsity  of  which  has 
been  proved  by  the  careful  researches  of  M.  Charles  Vosmaer  and  his  fellow- workers, 
of  MM.  Bredius,  de  Vries,  Immerzeel,  and  others,  and  lastly  of  Dr.  Wilhelm  Bode,  and 
M.  Emile  Michel,  whose  work  upon  Rembrandt,  published  in  1893,  is  now  the  stand- 
ard authority  on  the  subject. 

But,  although  much  concerning  Rembrandt  has  been  revealed,  although  "  the  cob- 
webs of  myth  with  which,  partly  through  malice,  partly  through  ignorance,  the  master' s 
image  had  been  overwhelmed  have  been  torn  away,"  nevertheless,  painstaking  and 
seemingly  exhaustive  as  the  researches  have  been,  much  concerning  the  life  of  the  great- 
est of  Dutch  painters  still  remains  shrouded  fn  darkness  and  mystery. 


lwbrt 


WALTER     ARMSTRONG  "FORTNIGHTLY     REVIEW, "1894 

THE  doubts  in  connection  with  Rentbrajadt  begin  with  the  date  of  his  birth.  Three 
different  years,  1606,  1607,  and  1600,  have  been  given.  M.  Michel,  following 
Dr.  Bredius,  says  he  was  born  at  Leyden  on  July  15,  1606,  which  makes  him  sixty- 
three  at  his  death,  in  1669.  He  was  the  fifth  of  six  children  born  to  the  miller,  Har- 
men  van  Rijn  (Harmen  of  the  Rhine)  by  his  wife,  Neeltjen  Willemsdochter  van  Zuit- 
broeck.  Humble  as  they  were  in  station,  his  parents  sent  him  to  the  Latin  school  in 
order  that,  as  Orlers,  the  best  authority  for  his  early  years,  puts  it,  "he  might  in  the 
fulness  of  time  be  able  to  serve  his  n  Jtive  city  and  the  Republic  with  his  knowledge. ' ' 
Such  studies  were  not  to  the  boy's  mind,  however,  and  Harmen  soon  perceived  that 
his  son's  inclination  towards  art  would  have  to  be  indulged.  He  was  placed  with  Jakob 
van  Swanenburch,  whom  he  quitted  three  years  later  to  study  under  Lastman  at  Am- 
sterdam. It  was  during  the  first  short  stay  in  the  city  whose  chief  ornament  he  was 
afterwards  to  become,  that  he  underwent  the  influence  of  Elsheimer,  who  had  been 
Lastman 's  master  in  Rome,  and  of  Lievens,  who  was  his  fellow-pupil  in  Lastman 's  stu- 
dio. But  Rembrandt  only  stayed  six  months  in  Amsterdam.  He  returned  to  Leyden 
in  1624,  **  determined,"  says  Orlers,  "  to  study  and  practise  painting  alone,  in  his  own 
fashion."  He  remained  six  years  in  his  native  town,  working  much  from  the  members 
of  his  own  family  and  from  himself,  carrying  out  those  elaborately  staged  compositions 
which  mark  his  first  period  as  a  painter,  and  taking  the  first  steps  as  an  etcher.   ... 

M.  Michel  in  his  "Life  of  Rembrandt"  paints  a  graphic  picture  of  Amsterdam  in 
163  1,  of  her  growing  trade  and  prosperity,  and  of  the  transformation,  not  only  in  the 
city  itself,  but  in  the  spirit  of  the  inhabitants,  which  followed  the  long  struggle  with 


22  $?a£ter£in&rt 

Spain.  The  revival  of  civil  life  had  been  followed  by  a  great  increase  in  the  attention 
given  to  the  arts.  The  institutions  fostered  by  the  war  had  encouraged  painters,  and 
now,  with  returning  prosperity,  other  institutions,  and  especially  those  connected  with 
charity,  came  forward  to  commission  pictures.  For  a  long  time  Amsterdam  was  the 
chief  place  to  profit  by  the  return  of  peace.  Her  position,  at  once  well  sheltered  and 
easily  accessible  both  from  the  interior  and  the  sea,  has  often  been  likened  to  that  of 
Venice,  but  perhaps  a  comparison  would  be  better  with  Constantinople.  Her  posi- 
tion at  the  head  of  the  then  navigable  Zuyder  Zee,  and  at  a  point  where  all  the  canals 
of  Holland  converged  from  the  south,  was  very  similar  to  that  of  the  Eastern  capital  on 
the  Sea  of  Marmora.  Within  a  century  of  William  the  Silent's  assassination  in  the  pal- 
ace at  Delft,  Amsterdam  had  practically  grown  into  the  town  we  all  knew  until  the 
other  day.  Like  several  other  Dutch  cities,  she  has  now  begun  to  put  on  suburbs  at  an 
alarming  rate,  but  in  1630  she  was  already  at  the  knees  of  that  rampart  over  which  she 
only  began  to  swarm  some  twenty  years  ago. 

It  was  in  this  Amsterdam  that  Rembrandt  established  himself  in  1 630;  here,  in  1 63  2, 
that  he  painted  his  first  corporation  picture,  the  "Lesson  in  Anatomy;  "  and  here,  in 
1634,  that  he  married  his  wife,  Saskia  van  Uylenborch,  much  of  whose  short  married 
life  must  have  been  spent  in  sitting  to  her  husband.  M.  Michel  enumerates  some  eight- 
een portraits  of  her,  of  one  kind  or  another,  not  counting  compositions  in  which  she 
may  have  sat  for  single  figures.  Some  have  recognized  her  features  in  an  even  greater 
number  of  cases.  Saskia  died  in  1642,  the  year  of  "The  Night  Watch."  Vosmaer, 
through  a  misapprehension  by  his  friend,  Dr.  Schekema,  of  an  entry  in  a  parish  book, 
gave  a  second  wife  to  Rembrandt,  one  Catharina  van  Wyck,  whom  he  was  supposed  to 
have  married  in  1665.  It  is  now  believed  that  Saskia's  only  successor  was  Hendrickje 
Stoffels,  whose  connection  with  the  mastem  began  about  1650  and  lasted  till  her  death, 
which  is  supposed  to  have  occurred  aboutl  662.  The  most  intricate  and  obscure  points 
in  Rembrandt's  life  are  those  connected  \«^Kaskia's  disposition  of  her  property.  She 
made  a  will  in  favor  of  her  son  Titus,  wj«iW  contingent  remainder  for  the  benefit  of 
her  sister  Hiskia,  but  as  the  will  also  contain^,  a  stipulation  that  Rembrandt  should  not 
be  legally  bound  to  carry  out  its  provision™"  because  she  had  confidence  that  he  would 
behave  in  the  matter  in  strict  obedience  to  his  conscience,"  it  is  difficult  to  understand 
exactly  how  it  came  to  precipitate  his  ruin.  However  this  may  be,  the  fact  remains 
that  between  1654  and  1658  the  painter  was  stripped  of  all  the  property  he  had  accumu- 
lated in  the  historic  house  in  the  Breestraat,  and  that  for  the  rest  of  his  life  he  was  a 
sort  of  nomad,  shifting  his  lodgings  with  uncorafbrtable  frequency,  carrying  with  him 
nothing  but  the  materials  of  his  art  and  some  littfc  wreckage  from  his  collections,  which 
seem  to  have  been  saved  we  know  not  how.  During  all  this  period,  except  the  last 
few  years,  he  had  for  legal  tuteurs  Hendrickje,  and  his  son  Titus,  who  made  shift  to 
manage  his  affairs  while  he  confined  his  thoughts  to  art.  How  he  passed  the  melan- 
choly years  which  intervened  between  their  deaths  and  his  own  we  can  only  conjec- 
ture.   .    .   . 

Rembrandt's  son  Titus  died  in  1668,  and  the  old  painter  was  left  with  two  children 
(a  daughter  and  a  granddaughter)  to  form  his  only  links  with  the  past.  His  own  death 
took  place  about  thirteen  months  later.  So  far  no  allusion  to  it  has  been  found  in  any 
contemporary  document,  except  the  death-register  of  the  Werter-Kerk  of  Amsterdam, 
in  which  this  entry  occurs:  "Tuesday,  October  8th,  1669;  Rembrandt  van  Rijn, 
painter,  on  the  Roozegraft,  opposite  the  Doolhof.    Leaves  two  children." 


ftetnbran&t 


Cije  &rt  of  BkembratiBt 

EUGENE  FROMENTIN  has  given  us,  in  his  "  Maitres  d' Autrefois,"  the  most 
illuminating,  the  most  penetrating,  criticism  upon  Rembrandt  that  has  yet  appeared 

—  a  key  criticism,  which  renders  many  confusing  and  diverse  opinions  reconcilable. 
Unfortunately  the  length  of  his  masterly  essay  makes  it  impossible  to  reproduce  it  here  in 
its  entirety,  but  in  the  following  synopsis  (though  for  the  sake  of  condensation  we  have 
been  obliged  to  depart  from  the  logical  order  of  the  original)  we  shall  use  Fromentin's 
own  expressions  wherever  possible. 

The  starting-point  or  text  of  the  theory  is,  that  Rembrandt's  was  a  dual  nature,  that 
he  was  two  men  in  one,  —  the  first  a  trained,  facile,  and  workmanlike  Dutch  painter  of 
his  own  time,  above  all  a  realist;  the  second  a  visionary,  a  dreamer,  an  idealist  whose 
ideal  was  light. 

The  first  of  these  Rembrandts,  —  Rembrandt  the  realist,  the  accomplished  technician, 

—  whom  Fromentin  has  called  the  "  exterior  man,"  was  possessed  of  a  clear  mind,  a  vig- 
orous hand,  and  infallible  logic;  indeed  in  every  quality  the  very  opposite  of  the  romantic 
genius  to  whom  the  admiration  of  the  world  has  been  almost  entirely  given.  And 
assuredly,  in  his  way,  this  "  exterior  ' '  Rembrandt  is  no  inferior  master.  His  manner  of 
seeing  is  thoroughly  healthy,  his  way  of  painting  edifying  from  the  simplicity  of  the 
means  employed,  attesting  that  he  wished  above  all  things  to  make  his  work  compre- 
hensible and  veracious.  His  palette  is  limpid,  without  cloudiness,  tinged  with  the  true 
colors  of  the  daylight.  His  drawing  makes  you  forget  it,  but  it  forgets  nothing.  He 
expresses  and  characterizes,  with  their  true  individualities,  features,  glances,  attitudes 
and  gestures,  the  normal  habits  and  the  accidents  of  life,  — he  is,  in  a  word,  admirably 
lifelike.  His  execution  has  the  propriety^ha  breadth,  the  high  bearing,  the  firm  tissue, 
the  force  and  conciseness  which  characteWf  bainters  who  are  masters  of  their  craft.  As 
the  work  of  this  clear-seeing,  workmarM:e»realist,  the  "exterior"  Rembrandt,  we 
may  instance  the  portrait  of  **  Burgomame^ix  "  in  the  Six  Gallery  at  Amsterdam, 
**  The  Gilder  "  in  our  own  country,  and  the  "  Portrait  of  Elizabeth  Bas  "  reproduced 
in  this  issue  (though  this  example  is  not  so  apt  an  instance  as  the  other  pictures  named). 
In  these  portraits  there  is  no  poetry,  no  idealism,  and  yet  they  are  so  thorough  in  work- 
manship, so  truly  seen  and  rightly  rendered,  that  they  deservedly  rank  among  the  world's 
masterpieces. 

So  much  for  the  "exterior"  RerArandt.  Let  us  now  turn  to  the  other, — Rem- 
brandt the  idealist,  the  dreamer.  Here  is  a  painter  far  more  subtle,  more  difficult  to 
characterize.  Perhaps  we  shall  more  clearly  see  what  he  was  if  we  approach  him  through 
an  example  of  his  work,  such  as,  for  instance,  the  "  Christ  at  Emmaus  "  (Plate  vm). 

This  little  picture,  insignificant  in  appearance,  of  no  great  composition,  subdued  in 
color,  almost  awkward  in  execution,  would  alone  be  sufficient  to  establish  the  greatness 
of  a  painter.  Not  to  speak  of  the  disciple  who  clasps  his  hands  in  worship,  nor  of  the 
other,  who,  astounded,  his  gaze  fixed  upon  the  face  of  Christ,  is  plainly  uttering  an  ex- 
clamation of  amazement,  one  might  only  remember  in  this  marvellous  work  the  figure 
of  the  Christ,  and  it  would  be  enough.  What  painter  has  not  given  us  his  conception  of 
Christ?  From  Leonardo,  Raphael,  and  Titian,  to  Van  Dyck,  Holbein,  Rubens,  and 
Van  Eyck,  how  have  they  not  deified,  humanized,  and  transfigured  him,  told  the  story 
of  his  passion  and  of  his  death,  related  the  events  "of  his  earthly  life,  and  conceived  the 
glories  of  his  apotheosis?  But  has  he  ever  been  imagined  like  this?  In  pilgrim's  garb; 
pale,  emaciated;  breaking  bread  as  on  the  evening  of  the  Last  Supper;  the  traces  of  tor- 
ture still  on  the  blackened  lips;  the  great,  dark,  gentle  eyes  widely  opened  and  raised 


24  a£a£  t  er  £    in    &r  t 

towards  heaven;  the  halo,  a  sort  of  phosphorescent  light,  enveloping  him  in  an  indefin- 
able glory;  and  on  his  face  the  inexplicable  look  of  a  living,  breathing  human  being,  who 
has  passed  through  death !  The  bearing  so  impossible  to  describe,  and  assuredly  impos- 
sible to  copy,  the  intense  feeling  of  the  face,  where  the  features  are  undefined  and  where 
the  expression  is  given  by  the  movement  of  the  lips  and  by  the  look,  —  these  things,  in- 
spired one  knows  not  whence  and  produced  one  knows  not  how,  are  all  priceless.  No 
art  recalls  them,  no  one  before  Rembrandt,  no  one  after  him,  has  expressed  them. 

And  if,  seeking  to  discover  the  means  by  which  such  marvels  are  produced,  we  look 
into  the  picture  for  an  explanation,  do  we  find  it  by  saying,  as  so  many  critics  have  con- 
tented themselves  with  saying,  that  Rembrandt  was  a  consummate  master  of  chiaroscuro? 
Not  if  we  mean  by  chiaroscuro  the  play  and  opposition  of  light  and  shadow,  in  which 
dark  waves,  shaded,  deepened,  thickened,  revolve  around  bright  centres  which  are  thereby 
made  to  appear  more  distinct  and  radiant,  and  yet  in  which  the  darkness  is  transparent, 
the  half-darkness  easy  to  pierce,  and  even  the  strongest  colors  have  a  sort  of  penetrability 
which  prevents  their  being  black.  This  form  of  expression  was  by  no  means  either  the 
invention  or  the  exclusive  quality  of  Rembrandt.  All  the  great  Italians,  notably  Leonardo 
and  Titian,  have  used  it;  nay,  Rembrandt  in  his  other  self — the  realist,  the  exterior 
man  —  used  it  consummately.  Indeed  it  was  the  native  and  necessary  form  in  which 
Rembrandt,  in  either  of  his  personalities,  always  expressed  his  ideas.  Surely  this  does  not 
explain  the  mystery. 

But  let  us  take  a  step  further:  let  us  admit  (and  it  is  undeniably  true)  that  this  ideal- 
ist, this  dreaming  Rembrandt,  was  more  than  a  mere  master  of  chiaroscuro,  —  that  he 
was  the  greatest  master  of  it  that  has  ever  lived,  and  that  because  it  was  so  intimately 
adapted  to  his  genius,  he  developed  it  into  a  means  of  expression  of  which  it  had  never 
before  nor  has  it  since  been  capable.  Admit  that  under  his  hand,  misty,  veiled,  discreet, 
it  lends  a  charm  to  half-hidden  things,  invites  curiosity,  adds  an  attraction  to  moral 
beauty,  and  finally,  partakes  of  sentiment,  ofjgmotion,  of  the  uncertain,  the  indefinite, 
of  the  dream  and  of  the  ideal,  —  in  a  wor^/Wves  a  double  life,  the  life  it  has  by  nature 
and  that  which  comes  to  it  through  communicated  emotion.  And  yet,  admitting  all  this 
(and  though  it  is  clear  that  in  thus  broademng  the  meaning  of  the  word  "  chiaroscuro  " 
we  are  nearer  and  nearer  to  the  secret),  we  have  not  solved  the  mystery,  nor  quite 
lifted  the  veil  which  hides  the  supreme  greatness  of  Rembrandt  the  dreamer,  the  idealist, 
the  painter  of  the  **  Christ  at  Emmaus." 

Suppose,  then,  that  in  despair  of  classifying  him  as  merely  a  master  of  chiaroscuro,  in 
despair  of  stretching  the  word  to  make  it  contain  the  whole  truth  about  him,  in  despair  of 
finding  a  ready-made  term  in  the  vocabulary,  vie  should  invent  one,  and  call  him  a 
"luminarist;"  coining  this  barbarous  word  to  signify  a  man  who  would  conceive  light 
outside  of  recognized  laws,  who  would  attach  to  it  an  extraordinary  meaning,  who 
would  make  great  sacrifices  to  it.  If  such  is  its  signification,  Rembrandt  is  at  once  defined 
and  judged;  for  it  expresses  an  idea,  a  rare  eulogium,  and  a  criticism.  The  whole  career 
of  Rembrandt  the  dreamer  turns  round  this  troublesome  objective  point, —  to  paint  only 
by  the  help  of  light,  to  draw  only  with  light.  He  has  proved  that  fight  exists  in  itself,  v"^ 
independent  of  exterior  form  and  of  coloring;  and  that  it  can,  by  the  force  and  variety 
of  its  usage,  the  power  of  its  effects,  the  number,  the  depth  and  the  subtlety  of  the  ideas 
which  it  may  be  made  to  express,  become  the  principle  of  a  new  art.  Life  he  per- 
ceives in  a  dream,  as  an  accent  of  another  world,  which  renders  real  life  almost  cold 
and  makes  it  seem  pale;  and  his  ideal,  as  in  a  dream,  pursued  with  closed  eyes,  is  light, 
—  the  nimbus  around  objects,  phosphorescence  on  a  black  ground.  It  is  fugitive,  un- 
certain, formed  of  imperceptible  lineaments,  all  ready  to  disappear  before  they  are  fixed, 
ephemeral,  and  dazzling.    To  arrest  the  vision,  place  it  upon  canvas,  give  it  form  and 


&em  bran  tot  25 

relief,  preserve  its  fragile  texture,  give  it  brilliancy,  and  let  the  result  be  a  strong, 
masculine,  and  substantial  painting,  as  real  as  any  other,  which  would  resist  contact  with 
Rubens,  Titian,  Veronese,  Giorgione,  Van  Dyck, —  this  is  what  Rembrandt  the  "lu- 
'  minarist  "  attempted.  Did  he  accomplish  it?  The  judgment  of  the  world  is  there  to 
sav.  When  this  dreamer  of  light  used  it  appropriately,  when  he  used  it  to  express  what 
no  other  painter  in  the  world  has  expressed,  when,  in  a  word,  he  accosts  with  his  dark 
lantern  the  world  of  the  marvellous,  of  conscience,  the  ideal,  then  he  has  no  peer,  be- 
cause he  has  no  equal  in  the  art  of  showing  the  invisible.  All  the  differing  judgments 
that  have  been  pronounced  upon  his  works — beautiful,  defective,  doubtful,  incontestable 
—  can  be  brought  back  to  this  one  simple  question:  Was  the  occasion  one  for  making 
light  an  exclusive  condition?  Did  the  subject  require  it,  did  it  allow  it,  or  exclude  it? 
In  the  first  case  the  work  results  from  the  spirit  of  the  work :  infallibly  it  must  be  admi- 
rable. In  the  second  the  result  is  uncertain;  and  almost  invariably  the  work  is  disputable 
or  a  poor  success.  But  why  was  it  that  Rembrandt  the  pure  idealist,  the  dreamer  of 
the  invisible,  the  enamored  of  light,  so  seldom  attained  to  this  supreme  achievement? 
Perhaps  we  may  discover. 

To  recur  to  the  little  picture  which  has  served  us  as  a  point  of  departure  for  inquiry 
into  his  nature,  we  cannot  blind  ourselves  to  the  fact  that,  in  spite  of  its  wonderful 
effects,  it  is  technically  in  every  way  inferior  to  the  portrait  of  Elizabeth  Bas.  It  is  not 
well  drawn,  it  is  colorless,  in  its  physical  appearance  the  canvas  is  mean  and  insignifi- 
cant, the  workmanship  is  timid  and  almost  fumbling;  indeed  in  its  very  essential  inspira- 
tion, the  handling  of  its  light,  it  is  not  unimpeachable,  for  even  light  in  the  hand  of  this 
dispenser  of  it  was  no  marvellously  submissive  and  docile  instrument  of  which  he  was 
sure.  It  possessed  him,  governed  him,  conducted  him  to  the  impossible,  inspired  him 
sometimes  to  the  point  of  sublimity,  and  sometimes  betrayed  him. 

How,  then,  are  we  to  reconcile  the  work  of  these  two  men — the  exterior  man,  the 
/  masjej^oftechnique^who  can_be  so  cleai>with  this  idealist,  this  dreamer  of  dreams, 
whose  visions  are  so  often  haltingly  expressed? 

The  key  to  the  mystery  lies  in  the  diversity  of  the  two  natures  —  nay,  in  their  ad- 
versity! Of  almost  equal  force,  but  in  objects  opposite,  they  clog,  hamper,  and  embar- 
rass each  other.  Rembrandt  was  not  a  man  whom  tension  fortifies,  to  whom  it  gives 
balance.  The  visionary  bends  himself  uneasily  to  the  expression  of  natural  truth,  but  is 
inimitable  when  the  obligation  of  veracity  does  not  hamper  his  hand;  the  technician  is 
a  workman  who  can  be  magnificent  when  the  visionary  does  not  trouble  and  distract  him. 
One  perfection  he  rarely  shows  because  of  the  difficulty  of  maintaining  himself  in  this 
ideal  state,  of  painting  an  entire  picture  in  it;  because  he  could  rarely  escape  the  rising  in 
him  of  the  realist  to  trouble  the  dreamer.  To  the  other  he  as  rarely  attains,  because  the 
idealist  so  constantly  intervened  to  disturb  the  calm  workman. 

The  whole  history  of  Rembrandt's  life,  then,  may  be  expressed  as  a  struggle  for  the 
reconciliation  of  his  two  natures,  a  struggle  of  which  the  painter  himself  was,  perhaps, 
unconscious.  All  his  works  bear  testimony  to  the  difficulty  he  had  in  finding  a  subject 
of  such  mixed  character  that  both  sides  of  his  talent  might  be  manifested  together  with- 
out injury  to  each  other.  To  Fromentin  the  principal  interest  of  "  The  Night  Watch  " 
lies  in  the  fact  that  it  is  to  him  a  clear  evidence  of  struggle, —  a  battle-ground  which 
marks  the  progress  of  the  reconciliation,  a  splendid  failure  which  shows  us  the  painter  in 
a  day  of  great  ambiguity,  when  neither  his  thought  was  free  nor  his  hand  healthy. 

Did  he  ever  succeed  in  effecting  the  reconciliation,  in  finding  the  subject?  If  never 
completely,  surely  most  nearly  in  "The  Syndics."  A  group  of  burghers  and  mer- 
chants, but  notable  men,  assembled  in  their  own  house,  before  a  table  with  an  open  reg- 
ister upon  it,  surprised  in  full  council.    No  one  of  them  is  posing,  they  are  all  living. 


Y- 


26  <Jt£a£  t  cr  £    in    &r  t 

Occupied  without  acting,  they  speak  without  moving  their  lips.  A  warm  atmosphere, 
increased  tenfold  in  value,  envelops  the  whole  with  rich,  grave  half-tints.  The  paint- 
ing and  relief  of  the  linens,  the  faces,  and  the  hands  is  extraordinary,  and  the  extreme 
vivacity  of  the  light  is  as  delicately  observed  as  if  Nature  herself  had  given  its  measure 
and  quality.  The  picture  is  at  once  very  real  and  very  imaginative,  both  copied  and  con- 
ceived, prudently  managed  and  magnificently  painted.  In  this  canvas  all  Rembrandt's 
efforts  have  borne  fruit;  not  one  of  his  researches  has  been  in  vain.  Here  he  meant  to 
treat  living  nature  as  he  treated  fictions,  by  mingling  the  ideal  and  the  true,  and  here  he 
succeeded.  The  two  men  who  had  long  divided  the  forces  of  his  mind  joined  hands 
in  this  hour  of  success. 

Taken  thus,  as  a  dual  nature,  Rembrandt  is  wholly  explained, — his  life,  his  work,  his 
leanings,  his  conceptions,  his  poetry,  his  methods,  his  way  of  working,  even  to  the  color 
of  his  paintings,  which  is  only  a  bold  and  studied  spiritualization  of  the  material  elements 
of  his  art. 

JOHN     C.     VAN     DYKE  "THE     DIAL,"      VOL.     16 

REMBRANDT  was  a  remarkable  man  in  the  annals  of  art,  a  superb  etcher  and  a 
supreme  painter,  whose  like  it  is  not  probable  we  shall  see  again.  Primarily  he 
was  a  portrait-painter.  The  single  figure  was  more  consonant  with  his  art-methods  than 
the  composed  group.  This  was  probably  due  to  several  causes.  He  was  no  lover  of 
the  traditional  or  academic,  and  never  followed  school  formulas  in  composition  to  any 
extent.  His  composition  was  his  own,  and  it  was  sometimes  good  and  sometimes  bad. 
He  had  not  a  particle  of  what  has  been  called  *<  style,"  had  no,care  for  line  as  line, 
and  was  uniquely  individual  in  the  picturesque.  With  peculiar  methods  that  became 
dominant  in  his  art  and  were  opposed  to  classic  composition,  he  often  distorted  lights 
(  and  shadows,  and  built  up  certain  portions  of  a  composition  by  dragging  down  other  1 
1  portions;  and  this,  while  a  forceful  method  of  procedure  with  the  single  figure,  as  his  / 
|  portraits  attest,  was  not  perhaps  the  best  method  of  handling  composed  groups,  as  a  J 
'  number  of  his  large  figure-pieces  attest.  His  mastery  of  light-and-shade  rather  militated 
against  his  composition,  just  as  it  bleached  and  often  falsified  his  color.  Fine  in  many 
instances  as  a  colorist,  he  was  prone  to  destroy  the  purify  and  value  of  tones  by  subor- 
dination; and,  positive  as  he  was  in  handling,  he  at  times  lapsed  into  heaviness  and 
ineffectual  kneading. 

Mentally  he  was  a  man  keen  to  observe,  assimilate,  and  synthesize.  His  conception 
was  localized  with  his  own  people  and  time  (he  never  built  up  the  imaginary  or  fol- 
lowed Italy),  and  yet  into  types  taken  from  the  streets  and  shops  of  Amsterdam  he  in- 
fused the  very  largest  humanity  through  his  inherent  sympathy  with  man.  Dramatic,^ 
even  tragic,  he  was  at  times,  and  yet  showed  it  less  in  vehement  action  than  in  passion- 
ate expression.  He  had  a  way  of  striking  universal  truths  through  the  human  face,  a 
turned  head,  bent  body,  or  outstretched  hand,  that  was  powerful  in  the  extreme.  His 
people  have  great  dignity  and  character;  and  we  are  made  to  feel  that  they  are  types  of 
the  Dutch  race  —  people  of  substantial  physique,  slow  in  thought  and  impulse,  yet  ca- 
pable of  feeling,  comprehending,  enjoying,  suffering.  His  landscapes,  again,  are  a  syn- 
thesis of  all  Dutch  landscape,  a  grouping  of  the  great  truths  of  light,  space,  and  air. 
Whatever  he  turned  his  mind  upon  was  treated  with  that  breadth  of  view  that  over- 
looks the  little  and  grasps  the  great. 

He  painted  many  subjects,  dating  from  1627  to  the  time  of  his  death,  and  at  first 

/     was  a  little  sharp  in  detail  and  cold  in  coloring.    After  1654  he  grew  much  broader  in 

handling  and  warmer  in  coloring,  tending,  toward  the  end  of  his  life,  to  rather  hot  tones. 

His  domestic  troubles  served  only  to  heighten  and  deepen  his  art,  and  perhaps  his  best 


Jftemfcranfct  27 

canvases  were  painted  under  stress  of  circumstances  and  in  sadness  of  heart.  His  life  is 
another  proof,  if  needed,  that  the  greatest  truths  and  beauties  are  to  be  seen  only  through 
tears.  Too  bad  for  the  man!  But  the  world — the  same  ungrateful,  selfish  world  that 
has  alwavs  lighted  its  torch  at  the  funeral  pyres  of  genius  —  is  the  gainer. 

WALTER     ARMSTRONG  "MAGAZINE     OF     ART,"    VOL.23 

MORE,  perhaps,  than  in  the  case  of  any  other  first-rate  artist  do  we  recognize  the 
work  of  Rembrandt  by  the  personality  behind  it.  Superb  though  his  technique 
is,  it  does  not  lend  itself  readily  to  those  tests  we  are  now  taught  to  consider  scientific. 
He  varied  his  manner  in  the  most  curious  and  unusual  way.  In  a  single  year  you  will 
find  pictures  painted  with  the  luminous  thinness  of  Van  Eyck,  and  others  in  which  the 
loaded  brush  is  used  with  extraordinary  vigor  and  bravura.  .  .  .  Once  Rembrandt  was 
"  through  "  with  his  tentative  period  —  which  in  his  case  lasted  a  very  short  time  —  he 
played  with  his  manners,  fusing  this  picture  into  a  polished  skin,  loading  the  paint  onto 
that  as  if  he  wished  to  design  in  ridge  and  furrow;  winning  his  light  to-day  from  within, 
catching  it  to-morrow  on  the  surface  of  his  paint;  alternately  diffusing  the  interest  over 
his  canvas  and  concentrating  it,  even  with  violence,  on  a  single  point.  The  one  thing 
in  which  he  never  varies  is  loyalty  to  his  own  gift.  From  first  to  last  he  paints;  he 
understands  that  what  he  has  to  say  must  be  said  in  and  not  through  paint;  that  the 
emotions  and  ideas  for  him  are  those  which  can  be  expressed  in  the  material  in  which 
he  deals.  Within  these  limits  his  variety  is  so  absolute  that  instances  of  mere  repetition 
are  scarcely  to  be  found  in  the  whole  range  of  his  work.  Each  conception  suggested 
its  own  treatment;  and  it  is  not  until  we  reach  the  very  end  of  his  career,  when  at  last 
his  brain  is  stiffening  with  age,  that  evolution  ceases,  and  methods  and  types  begin  to 
lose  their  power  of  variation.  To  the  superficial  observer- — may  he  forgive  me!  —  all 
this  may  seem  the  reverse  of  the  truth,  and  he  may  assert,  with  some  plausibility,  that 
Rembrandts  are  more  like  each  other  than  the  works  of  any  one  else.  But  this  impres- 
sion, which  is,  perhaps,  the  one  carried  away  by  most  visitors  to  a  picture  gallery, 
results  naturally  from  the  fact  that  his  productions  stand  so  decisively  apart  from  the 
common  stream  of  art.  It  is  not  that  he  repeats  himself,  but  that  he  repeats  no  one 
else.  His  individuality  is  so  imperious,  self-sufficing,  and  all-transforming,  that  its  pres- 
ence blinds  us  to  the  infinite  variety  of  its  manifestations,  and  we  have  to  wait  till  the 
dazzle  is  over  before  we  can  recognize  how  changeful  he  is. 

EMILE     MICHEL  "REMBRANDT:      HIS     LIFE,     WORK,     AND     TIME" 

POSTERITY  has  taken  upon  itself  to  avenge  the  oblivion  into  which  Rembrandt 
fell.  And  yet  we  would  be  wrong  to  bear  too  hardly  upon  his  contemporaries  for 
their  want  of  appreciation.  Rembrandt's  art  was  too  original,  too  diametrically  opposed 
to  received  ideas,  for  things  to  be  otherwise.  The  average  man  could  not  understand 
it,  and  the  touch  of  moroseness  in  the  artist's  self-contained  personality  was  not  calcu- 
lated to  attract  his  affection.  He  scandalized  his  fellow- townsmen  by  some  of  his  pro- 
ceedings, and  in  none  did  he  lay  himself  out  to  please  them.  Always  in  extremes,  his 
temperament  offers  many  contradictions.  From  one  point  of  view  he  was  a  dreamer, 
incapable  of  managing  his  affairs,  or  even  of  arranging  his  daily  life.  On  the  other  hand, 
in  all  that  touched  his  work  he  showed  a  tenacity  and  a  sense  of  system  which  are 
rare  even  with  the  best-regulated  artists.  He  created  his  own  methods  of  study  from 
the  very  foundation.  Simple  in  his  habits  and  of  an  extreme  frugality,  he  yet  shrank 
from  no  expenditure  when  it  was  a  case  of  satisfying  an  artist's  caprice.  Good-humored, 
kindly,  and  ready  to  do  a  service  as  he  was,  he  nevertheless  lived  apart,  in  a  solitude 


28  a?a£tet0tn&rt 

which  had  something  forbidding  about  it.  He  took  an  interest  in  all  things,  and  yet, 
although  his  movements  were  perfectly  free,  he  never  left  his  native  country.  Gifted 
with  a  fine  imagination,  he  yet  clung  to  the  skirts  of  nature;  eager  for  every  novelty, 
it  was  yet  in  the  humblest  and  most  beaten  tracks  of  life  that  he  sought  and  found  the 
subjects  he  dressed  in  unexpected  poetry.  His  sense  of  beauty  was  perfect,  and  he  spares 
us  no  extreme  of  ugliness.  On  a  single  canvas  he  will  mix  up  the  highest  aspirations 
with  the  commonest  trivialities,  the  most  absolute  want  of  taste  with  a  refinement  of 
delicacy  almost  excessive. 

From  the  extreme  precision  and  finish  of  the  work  of  his  youth  to  the  breadth  and  large- 
ness of  that  of  his  maturity  was  a  steady  march.  In  his  first  productions  —  his  studies,  of 
course,  excepted  —  his  touch  is  fused,  delicate,  and  subtle;  in  his  later  works  it  is  broader, 
freer,  more  decisive;  and  it  ends  with  the  somewhat  forbidding  abruptness  of  his  old  age. 
In  this  connection  some  of  his  own  remarks  are  significant  —  ' «  Hang  these  pictures  in 
a  very  strong  light,"  he  says,  in  his  youth,  when  speaking  of  his  "Passion  "  series. 
As  age  came  upon  him  he  kept  the  critics  more  at  arm's  length.  "The  smell  of  paint 
is  not  good  for  the  health, ' '  we  hear  him  saying  to  some  one  who  came  too  close  to 
his  easel.  At  the  same  time,  as  a  broader  treatment  led  him  to  enlarge  his  figures,  it  also 
caused  him  to  diminish  their  number,  for  he  felt  that  to  multiply  the  points  of  interest, 
as  he  used  to  do,  was  hurtful  to  the  unity  of  the  final  result.  His  aim  was  to  deepen 
and  clarify  the  effects.  Among  all  possible  movements  and  gestures  he  sought  for  those 
which  best  agreed  with  the  character  of  his  subject,  and  established  the  closest  and  most 
definite  relations  between  the  various  figures.  So  too,  in  his  portraits,  he  attached 
/  gradually  less  and  less  importance  to  the  costume  and  to  various  colors.  He  suppressed 
strong  contrasts,  and  so  led  the  eye  more  surely  to  the  true  centre  of  interest,  the  head. 
He^rtcognizecT  that  all  the  features  are  not  of  equal  moment.  He  insists  upon  those 
which  give  individuality  to  a  countenance, —  upon  the  mouth,  and,  still  more,  upon  the 
eyeSj_which  he  endows  with  a  singular  vivacity.  As  for  color,  after  having  first  experi- 
mented with  a  sort  of  monochrome  made  up  of  reddish  tones,  and  afterwards  with  a 
richer  and  more  varied  palette,  he  came  to  see  that  harmony,  as  he  understood  it,  was 
to  be  obtained  by  the  utmost  possible  enforcement  of  certain  dominant  tones  —  golden 
and  tawny  browns,  and  especially  reds  —  and  by  their  juxtaposition  to  broken  tints  of 
iron-gray  and  neutral  brown.  His  chiaroscuro,  too,  was  modified  as  his  powers  grew. 
The  sharp  transitions  of  his  early  work  disappeared  to  make  way  for  the  quieter  con- 
trasts with  which  he  obtained  effects  quite  as  powerful  and  more  subtle  and  various. 

His  originality  of  interpretation  was  always  controlled  by  study  of  nature.  Nature 
made  him  what  he  was,  and  to  her  he  turned  unceasingly.  One  of  his  principles  was 
that  "Nature  alone  should  be  followed."  Tradition  had  little  power  over  him,  and 
yet  he  never  deliberately  threw  off  its  yoke.  On  the  contrary  he  was  always  keen  to 
know  what  men  had  done  before  his  time,  and  to  profit  by  their  teaching.  But  when 
a  subject  had  to  be  treated  he  did  not  trouble  himself  too  much  about  what  others  had 
said.  He  thought  about  it  for  himself;  he  entered  into  it;  he,  as  it  were,  lived  it  over 
again,  and  then  set  himself  to  reproduce  it  in  his  own  way,  giving  special  force  to  those 
aspects  which  had  stirred  his  own  emotions. 

Rembrandt  belongs  to  the  breed  of  artists  which  can  have  no  posterity.  His  place 
is  with  the  Michelangelos,  the  Shakespeares,  the  Beethovens.  An  artistic  Prometheus, 
he  stole  the  celestial  fire,  and  with  it  put  life  into  what  was  inert,  and  expressed  the 
immaterial  and  evasive  sides  of  nature  in  his  breathing  forms.  —  from  the  french  by 

FLORENCE  SIMMONDS. 


ft  r  m  li  r  a  n  D  t  29 

Cije  23utcft  School  of  $atnttng 

1600    TO    1700 

IN  its  beginning  Dutch  painting  was,  in  both  method  and  technique,  closely  allied  to 
that  of  Flanders  as  practised  under  the  Van  Eycks,  and  it  was  not  until  the  early 
part  of  the  seventeenth  century  that  art  in  Holland  showed  decided  originality  and  force, 
and  that,  simultaneously  with  the  birth  of  political  freedom  in  the  country,  a  school  of 
painting  came  into  being  which  rapidly  rose  to  eminence  and  became  justly  famous. 

Setting  aside  the  Italian  methods  followed  by  the  Flemish,  the  characteristics  of  the 
Dutch  school  were  distinctly  individual  and  national.  Domestic  scenes,  genre  pictures, 
and  portraiture  predominated;  and  the  Dutch,  always  a  plain,  matter-of-fact  race,  no 
idealists,  but  fond  of  home  and  of  peaceful  living,  told  in  their  art  the  story  of  the  lives 
of  their  countrymen  with  a  fidelity  and  truth  to  nature  that  is  always  characteristic,  and 
often  realistic  to  a  fault.  In  portraiture  they  were  especially  strong.  Among  their  earliest 
painters  in  this  branch  we  find  the  name  of  Michael  Janse  Mierevelt  ( I  567-1641), 
and  among  the  greatest  and  most  celebrated  is  that  of  Franz  Hals  (1  584-1666),  whose 
drawing,  modelling,  color,  and  technique  entitle  him  to  a  place  in  the  front  rank  of 
portraitists.  A  little  later  came  Rembrandt  Harmens  van  Rijn  (1 606-1 669),  the 
greatest  painter  of  the  Dutch  school,  and  also  famous  as  an  etcher.  His  influence  upon 
the  art  of  his  country  was  immense.  Among  his  pupils  were  Ferdinand  Bol  (161 1— 
1680),  Govaert  Flinck  (1615-1660),  Nicolaas  Maes  (163  2-1 693)  and  many  others. 
A  painter  who  stands  somewhat  apart  from  the  followers  of  either  Hals  or  Rembrandt 
is  Bartholomew  van  der  Heist  (1612-^1670),  whose  numerous  works  are  principally 
portraits  and  large  groups. 

At  this  same  period  a  great  number  of  painters  in  Holland  were  engaged  in  produc- 
ing genre  pictures  —  works  finished  with  the  utmost  precision  and  delicacy  of  touch, 
and  on  so  small  a  scale  that  these  artists  are  known  as  the  "Dutch  Little  Masters." 
The  best  painter  among  them  was  perhaps  Gerard  Terburg,  or  Terborch,  (161 7— 
1 681),  whose  works  are  interiors,  "conversation  pieces,"  etc.,  marked  by  their  deli- 
cate but  firm  technique,  skilful  management  of  light  and  shade,  and  by  refinement  and 
dignity.  Gerard  Dou  (i  613-1675),  a  pupil  of  Rembrandt,  is  one  of  the  best  known 
of  the  Dutch  genre  painters.  His  work  is  full  of  elaborately  painted  detail,  and  repre- 
sents, for  the  most  part,  scenes  in  the  middle  and  lower  classes  of  Dutch  life.  Gabriel 
Metsu  ( 1 630-1 667),  Caspar  Netscher  (1 639-1 684),  Franz  van  Mieris  ( 1635— 
1 68 1 ),  Godefried  Schalken  (1643-17 06),  were  all  painters  of  interiors,  market,  street, 
or  kitchen  scenes.  .Adrian  van  Ostade  (1 610-1685)  represented  peasant  life,  and  Jan 
Steen  (1625?— 1679)  depicted  Dutch  merrymakings,  drunken  scenes,  etc.,  with  power 
and  skill,  but  with  small  refinement.  Pieter  de  Hooghe,  or  Hooch,  (i632?-i68i  )  is 
celebrated  as  a  painter  of  sunlight  and  of  out-of-door  effects  as  seen  through  an  open 
window  or  door. 

The  Dutch  artists  were  among  the  first  to  give  a  distinctive  character  to  landscape 
painting,  and  many  of  them  devoted  themselves  to  this  branch.  Although  as  a  rule 
somewhat  subdued  and  monotonous  in  color,  their  pictures  often  excelled  in  light  and 
in  aerial  perspective  and  atmospheric  effects.  Jan  van  Goyen  (1  596-1656),  whose 
works  are  mostly  depictions  of  Dutch  bays,  canals,  and  rivers,  was  one  of  the  earliest 
landscapists  of  the  seventeenth  century;  while  one  of  the  most  celebrated  was  Jakob  van 
Ruisdael  (i625?-i682).  His  pictures  are  of  wild  mountainous  country,  abounding  in 
rushing  streams,  waterfalls  and  woods,  with  gray  skies  and  dark  shadows.  Meindert 
Hobbema  (1638-1709),  whose  work  met  with  more  appreciation  in  England  than  in 


30  &$agtergin&rt 

his  own  country,  was  a  painter  of  wood-scenes,  village  streets,  meadows,  mills,  etc. 
His  pictures  are  full  of  sunshine,  and  show  a  close  study  of  nature.  Philip  Wouverman 
( 1 619-1668),  who  painted  horses,  cavalry  skirmishes,  and  riding-parties,  Aelbert 
Cuyp  ( 1 620-1 691),  a  painter  of  landscape  with  cattle,  Paul  Potter  (1625-1654), 
who  achieved  his  reputation  by  his  famous  picture  of  "  The  Young  Bull,"  now  in  the 
Museum  of  The  Hague,  and  Adrian  van  der  Velde  (163  5-1 67  2),  who  also  introduced 
cattle  into  his  pictures,  were  all  eminent  as  Dutch  landscapists. 

Willem  van  der  Velde  the  Younger  (1633-1707)  and  Ludolf  Backhuysen  (1631- 
1 708)  were  the  most  noted  among  the  seventeenth-century  marine  painters  of  Holland; 
and  of  the  still-life,  flower,  and  fruit  painters  who  became  celebrated  in  their  own  day, 
were  Jan  David  van  Heem  (1603-1684),  Jan  van  Huysam  (1682-1749),  Willem 
van  Aelst  (1620-1679),  Willem  Kalf  (1 620-1 693)  and  others. 

With  the  seventeenth  century  the  glory  of  the  Dutch  school  of  painting  passed,  and 
was  followed  in  the  eighteenth  by  a  period  of  decadence,  Unbroken  until  our  own 
time,  when  a  revival  has  taken  place,  and  modern  Dutch  art,  represented  by  such 
painters  as  Israels,  the  brothers  Maris,  Mesdag,  and  Mauve,  ably  holds  its  own  among 
contemporary  schools  of  painting. 


Cije  Works  of  &embrantit 

DESCRIPTIONS     OF     THE     PLATES 
"MAN     WITH     A     FUR     CAP"  THE     HERMITAGE:    ST.     PETERSBURG 

THIS  portrait  of  a  man,  with  his  fantastic  high  cap,  fur  tippet,  red  robe,  and  gold- 
headed  stick  was  painted  in  1637,  and  was  formerly  believed  to  represent  John  III. 
Sobieski,  King  of  Poland.  It  is  probably,  however,  a  fancy  study;  possibly,  as  has  been 
suggested  by  M.  Mantz  and  others,  Rembrandt  himself  was  the  original. 

THE     ANATOMY     LESSON"  GALLERY     OF     THE     HAGUE 

tf/  I  VHE  Anatomy  Lesson,"  the  first  of  Rembrandt's  great  portrait  subjects,  was 
X  painted  in  1632  at  the  request  of  the  celebrated  anatomist,  Nicolaas  Pieterszoon 
Tulp,  for  the  Guild  of  Surgeons.  In  the  picture  Professor  Tulp  is  seen  standing  behind 
an  operating-table  upon  which  is  placed  the  corpse.  Forceps  in  hand,  he  lifts  the  ten- 
dons of  the  partly  dissected  arm,  while  around  him  press  his  colleagues,  eager  to  watch 
and  to  listen.  It  is  a  marvellous  picture  for  a  young  man  of  twenty-six,  and  is  gen- 
erally accepted  as  a  milestone  in  the  career,  of  the  painter,  and  as  marking  a  new  de- 
parture. 

"It  is  Rembrandt's  triumph,"  says  Frederick  Wedmore,  "that  over  all  this  terri- 
ble reality  of  the  dead,  the  reality  of  the  living  is  victorious;  and  our  final  impression 
of  his  picture  is  not  of  the  stunted  corpse,  but  of  the  activity  of  vigor  and  intellect  in 
the  lecturing  surgeon  and  pressing  crowd. ' ' 

Malcolm  Bell  has  written:  "The  enthusiasm  aroused  by  'The  Anatomy  Lesson,' 
when  it  was  finished  and  hung  in  its  predestined  place  in  the  little  dissecting-room  of 
the  Guild  of  Surgeons,  was  immediate  and  immense.  Commissions  flowed  in  upon  the 
artist  faster  than  he  could  execute  them,  so  that  those  who  wished  to  be  immortalized 
by  him  had  often  to  wait  their  turn  for  months  together,  while  all  the  wealth  and  fash- 
ion of  the  city  flocked  to  the  far-off  studio  in  the  outskirts,  the  more  fortunate  to  give 
their  sittings,  the  later  comers  to  put  down  their  names  in  anticipation  of  the  future 


ftemfcranfct  31 

leisure.  From  the  beginning,  too,  pupils  came  clamoring  to  his  doors,  eager  to  pay 
down  their  hundred  florins  a  year,  as  Sandrart  says  they  did,  and  work  with  and  for 
the  lion  of  the  day." 

« PORTRAIT     OF     A     LADY"  LIECHTENSTEIN     GALLERY:    VIENNA 

OF  the  portraits  painted  by  Rembrandt  in  1636,  two  are  in  the  Liechtenstein  Gal- 
lery, Vienna.  One  of  these  depicts  a  young  man  in  officer's  costume,  the  other 
represents  his  wife.  It  is  this  latter  picture  which  is  here  reproduced.  The  lady  is 
richly  dressed  in  brown,  with  a  gold-embroidered  stomacher.  On  her  chestnut  hair  rests 
a  little  circle  of  pearls  to  which  a  long  blue  feather  is  attached.  Pearls  are  in  her  ears 
and  around  her  neck  and  wrist. 

11  Few  of  Rembrandt's  works,"  writes  Dr.  Bode,  "  even  those  painted  during  his  best 
period,  represent  the  charm  of  woman  so  alluringly  as  this  portrait  of  a  lady,  whose  radi- 
antly fair  complexion  shines  out  from  its  framework  of  luxuriant  hair,  and  is  offset  by  a 
rich  and  superbly  painted  costume.  Few  of  his  portraits  are  so  striking  in  their  person- 
ality, and  are  at  the  same  time  so  essentially  feminine.  In  this  picture  Rembrandt  shows 
himself  the  peer  of  Rubens  as  a  painter  of  voluptuous  beauty." 

"PORTRAIT     OF     SASKIA"  CASSEL     GALLERY 

THIS  portrait  of  Saskia  van  Uylenborch  was  probably  painted  in  1634,  shortly 
before  her  marriage  to  Rembrandt,  which  took  place  in  that  year.  Seen  in  profile 
and  standing,  she  is  richly  dressed,  and  is  adorned  with  a  profusion  of  pearls  and  precious 
stones.  Her  broad  hat  of  red  velvet  is  trimmed  with  a  long  white  feather;  and  in  one 
hand  she  holds  a  sprig  of  rosemary,  an  emblem  of  betrothal  at  that  time  in  Holland. 

In  describing  the  picture  Vosmaer  says:  "  The  figure  is  well  defined  against  a  dark- 
brown  background.  The  face  is  entirely  in  light,  almost  without  shadows,  but  lifelike 
and  fresh  in  color,  while  the  rest  of  the  figure  is  in  half-shadow.  The  whole  portrait  is 
finished  with  extreme  care,  but  lacks  freedom  in  the  treatment;  the  handling  being  pre- 
cise and  without  that  quality  of  suggestiveness  which  distinguishes  so  much  of  Rem- 
brandt's work." 

"SORTIE     OF     THE     CIVIC     GUARD"  RYKS     MUSEUM:     AMSTERDAM 

AMONG  the  Guilds  or  Corporations  prominent  in  the  history  of  Holland,  the 
military  companies  played  an  important  part.  Their  members  were  drawn  from 
the  principal  families  of  each  city,  and  it  was  upon  them  that  the  civic  authorities  de- 
pended for  the  maintenance  of  public  order.  It  was  customary  to  perpetuate  the  honors 
of  these  Guilds  in  portraits  paid  for  by  subscription  on  the  part  of  each  member  desirous 
of  being  depicted,  and  presented  by  them  to  the  Corporation  to  hang  in  the  halls  of  the 
Doelens  or  places  of  assembly.  Such  a  picture  Rembrandt  was  asked  to  paint  for  Cap- 
tain Frans  Banning  Cocq  and  his  company  of  musketeers. 

Erroneously  called  "The  Night  Watch,"  — a  name  given  it  by  French  writers  at 
the  end  of  the  eighteenth  century,  — it  is  not  a  night  scene,  as  its  darkened  condition, 
caused  by  time,  thick  coatings  of  varnish,  and  fumes  from  peat-fires  and  tobacco  smoke 
seemed  to  indicate,  but  on  the  contrary,  as  a  recent  cleaning  and  restoration  has  proved, 
was  painted  in  full  sunlight.  It  has  even  been  asserted  that  the  exact  position  of  the 
sun  can  be  ascertained  from  the  shadow  cast  by  Banning  Cocq's  hand  on  the  tunic 
of  his  lieutenant. 

The  incident  represented  is  a  call  to  arms  of  the  Civic  Guard.  The  company  is  issu- 
ing from  its  guild  house;  the  captain,  dressed  in  black  and  wearing  a  red  scarf,  gives 
his  orders  to  the  lieutenant,  who,  clad  in  yellow,  with  a  white  scarf  about  his  waist,  and 


32  apagtergin&rt 

wearing  a  yellow  hat  adorned  with  a  white  feather,  walks  at  his  side  —  the  two  men 
preceding  the  rest  of  the  group. 

The  canvas  measures  eleven  by  fourteen  feet,  but  as  originally  painted  in  1642  was 
considerably  larger.  The  mutilation  which  it  has  undergone  took  place  in  171  5,  when 
the  picture  was  removed  from  the  Hall  of  the  Musketeers'  Doelen  to  the  Town  Hall 
of  Amsterdam;  and  in  order  to  suit  it  to  the  dimensions  of  the  place  assigned  to  it, 
part  of  the  drum  to  the  left,  and  two  figures  to  the  right,  of  the  canvas  were  cut  off. 
A  contemporary  copy  of  the  work  by  Gerrit  Lundens,  now  in  the  National  Gallery, 
London,  shows  this  to  have  been  the  case. 

By  its  originality  of  treatment  "The  Night  Watch  "  stands  alone  in  the  history  of 
corporation  pictures.  "It  was  destined  to  deal  a  fatal  blow  to  Rembrandt's  reputa- 
tion," writes  M.  Michel,  "and  to  sensibly  diminish  his  clientele.  ...  To  begin 
with,  his  treatment  of  light  was  disconcerting  in  the  extreme  to  the  average  Dutch  mind 
—  a  mind  pre-eminently  sober  and  practical,  which  insisted  on  clarity  and  precision 
in  all  things.  Secondly,  those  more  immediately  concerned  in  the  matter  naturally 
resented  so  audacious  a  divergence  from  traditional  ideas.  Relying  on  the  orthodox  prec- 
edents, each  had  paid  for  a  good  likeness  of  himself,  and  a  good  place  on  the  canvas. 
But  the  painter  boldly  ignored  the  terms  of  the  tacit  contract.  The  two  officers  prom- 
inent in  the  centre  of  the  composition  had,  of  course,  nothing  to  complain  of,  but  the 
rank  and  file,  with  the  exception  of  some  four  or  five  members,  had  come  off  very  badly. 
Faces  in  deep  shadow  relieved  by  stray  gleams  of  light,  others  scarcely  visible,  and 
others  again  so  faintly  rendered  as  to  be  barely  recognizable,  were  not  at  all  to  their 
taste.  Disregarding  established  conditions  of  these  portrait  groups,  the  painter  had 
sacrificed  their  personalities  to  aesthetic  considerations.  His  first  care  had  been  to  com- 
pose a  picture.  .  .  .  After  such  a  blow  to  their  vanity  the  civic  guards  bestowed  their 
patronage  elsewhere,  and  Rembrandt's  commissions  fell  off  from  this  time  forward." 

"PORTRAIT     OF     ELEAZAR     SWALMIUS"  ANTWERP     MUSEUM 

"\j  SPECIALLY  strong  and  effective,"  writes  Dr.  Bode,  "  is  the  portrait  of  Eleazar 
I_j  Swalmius,  a  clergyman  of  Amsterdam.  This  venerable  personage,  of  about  sixty 
years  of  age  and  of  imposing  presence,  is  seated  in  a  low  arm-chair,  and  regards  the  spec- 
tator with  a  benevolent  expression,  accompanying  the  words  which  he  seems  to  have  just 
uttered  with  a  characteristic  gesture  of  the  hand."  The  portrait  is  dated  1637,  and  in 
the  catalogue  of  the  gallery  is  called  "  Portrait  of  a  Burgomaster." 

"PORTRAIT     OF     ELIZABETH     BAS"  RVKS     MUSEUM:    AMSTERDAM 

"TT  XQUISITE  as  is  the  technique  in  the  portrait  of  Elizabeth  Bas,"  writes  M. 
±_J  Michel,  "it  is  altogether  lost  sight  of  in  the  profound  impression  produced  by 
the  creation  as  a  whole.  By  far  the  most  remarkable  portrait  painted  by  Rembrandt  at 
this  period  (1643— 1646),  it  fairly  claims  to  rank  among  his  great  masterpieces.  Eliza- 
beth Bas,  widow  of  the  Admiral  J.  Hendrick  Swartenhout,  belonged  herself  to  a  family 
of  no  great  importance;  but  by  her  marriage  with  one  of  those  heroic  sailors  who  con- 
tributed so  largely  to  the  glory  and  prosperity  of  Holland,  she  had  been  admitted  to  the 
most  distinguished  society  of  Amsterdam.  Born  in  I  57 1 ,  she  appears  to  have  been 
from  seventy-two  to  seventy-five  years  old  when  the  portrait  was  painted.  It  is  a  three- 
quarters  length  of  an  old  lady,  seated,  and  facing  the  spectator.  Her  black  dress  is 
marked  by  the  subdued  elegance  proper  to  her  rank  and  age.  A  closely  fitting  white 
cap  with  semicircular  ear-pieces  surrounds  the  face,  showing  the  roots  of  the  hair  in 
front,  and  the  whiteness  of  the  large  goffered  ruff  is  mitigated  by  the  pronounced 
shadow  cast  by  the  head.    In  spite  of  her  yellow  complexion  and  parchment  skin,  the 


ftembrantit  33 

old  lady's  bearing  is  still  erect  and  stately.  The  vigorous  contours,  sharply  defined 
against  the  neutral  background,  the  close,  incisive  drawing,  the  truth  of  the  modelling, 
the  decision  of  the  accents,  the  extreme  frankness  of  the  intonations,  even  the  choice  of 
attitude,  all  combine  to  suggest  the  individuality  of  the  sitter.  Greatly  as  Rembrandt 
excelled  in  the  rendering  of  those  essential  traits  that  character  and  habit  stamp  on  a 
human  face,  he  never  gave  more  eloquent  expression  of  his  powers  than  in  this  mas- 
terpiece of  sincerity  and  divination." 

"CHRIST     AT     EMMAUS"  LOUVRE:    PARIS 

A  DESCRIPTION  of  this  remarkable  picture,  included  in  a  criticism  by  Fromen- 
tin,  will  be  found  on  pages  23,  24,  and  25  of  this  number.    It  was  painted  in 
1648.    It  is  unusually  small  in  size,  measuring  only  twenty-six  by  twenty-seven  inches. 

"THE     SHIPBUILDER     AND     HIS     WIFE"       BUCKINGHAM      PALACE:     LONDON 

"T}  EMBRANDT'S  great  masterpiece  of  1633,  a  year  so  rich  in  important 
J^.  works,"  writes  M.  Michel,  "is  the  large  canvas  known  as  'The  Shipbuilder 
and  His  Wife.'  The  husband,  an  elderly  man  with  a  white  beard  and  moustache,  and 
strongly  marked  but  placid  features,  sits  at  a  table,  busily  drawing  the  plan  of  a  ship's 
hull.  He  holds  a  compass  in  his  right  hand,  and  turns  for  a  moment  from  his  task  to 
his  wife,  an  old  woman  in  a  white  cap,  who  has  just  entered  the  room  to  hand  him 
what  is  doubtless  a  letter. 

"  The  frank  and  generous  execution,  the  soft,  warm  light,  the  sober  color,  the  transpar- 
ent shadows,  are  all  in  exquisite  harmony  with  the  homely  scene,  and  attune  the  specta- 
tor's mind  to  fuller  sympathy  with  the  old  couple.  By  bringing  them  thus  together  he 
has  given  us  not  merely  a  picture,  but  an  epitome  of  two  lives,  which,  thanks  to  his  art, 
are  as  closely  associated  in  our  memories  as  in  reality." 

"SYNDICS     OF     THE     CLOTH     GUILD"  RYKS     MUSEUM:    AMSTERDAM 

"/COMMISSIONED  by  the  Guild  of  Drapers,  or  Cloth-workers,"   writes    M. 

V>i  Michel,  " to  paint  a  portrait  group  of  their  Syndics  (or  directors)  for  the  Hall 
of  the  Corporation,  Rembrandt  delivered  to  them,  in  1 66 1 ,  the  great  picture  which  for- 
merly hung  in  the  Chamber  of  the  Controllers  and  Gaugers  of  Cloth  at  the  Staalhof,  and 
has  now  been  removed  to  the  Ryks  Museum. 

"As  was  the  custom  among  the  military  guilds,  which  gradually  declined  as  the  civic 
corporations  increased  in  importance,  it  became  a  practice  among  the  latter  to  decorate 
their  halls  with  portraits  of  their  dignitaries.  Whatever  the  character  of  the  Company, 
the  manner  of  representation  differed  little  in  these  portraits.   .    .    . 

"  In  this  instance  Rembrandt  made  no  attempt  to  vary  traditional  treatment  by  pictur- 
esque episode,  or  novel  method  of  illumination,  as  in  the  case  of  *  The  Night  Watch.' 
The  five  members  of  the  Corporation  are  ranged  round  the  inevitable  table,  prosaically 
occupied  in  the  verification  of  their  accounts.  They  are  all  dressed  in  black  costumes, 
with  flat  white  collars,  and  broad-brimmed  black  hats.  Behind  them,  and  somewhat  in 
the  shadow,  as  befits  his  office,  a  servant,  also  in  black,  awaits  their  orders  with  uncov- 
ered head.  The  table-cloth  is  of  a  rich  scarlet;  a  wainscot  of  yellowish-brown  wood 
with  simple  mouldings,  forms  the  background  for  the  heads.  No  accessories,  no  varia- 
tion in  the  costumes;  an  equally  diffused  light,  falling  from  the  left  on  the  faces,  which 
are  those  of  men  of  mature  years,  some  verging  on  old  age.  With  such  modest  materi- 
als Rembrandt  produced  his  masterpiece. 

"At  the  first  glance  we  are  fascinated  by  the  extraordinary  reality  of  the  scene,  by  the 
commanding  presence  and  intense  vitality  of  the  models.    They  are  simply  honest  citi- 


34  a$a£  t  er  £    in    &r  t 

zens  discussing  the  details  of  their  calling;  but  there  is  an  air  of  dignity  on  the  manly 
faces  that  compels  respect.  The  eyes  look  out  frankly  from  the  canvas;  the  lips  seem 
formed  for  the  utterance  of  wise  and  sincere  words.  Such  is  the  work,  but,  contem- 
plating it,  the  student  finds  it  difficult  to  analyze  the  secret  of  its  greatness,  so  artfully  is 
its  art  concealed.  Unfettered  by  the  limitations  imposed  on  him,  the  master's  genius 
finds  its  opportunity  in  the  arrangement  of  the  figures  and  their  spacing  on  the  canvas, 
in  the  slight  inflection  of  the  line  of  faces,  in  the  unstudied  variety  of  gesture  and  attitude, 
in  the  rhythm  and  balance  of  the  whole.  We  note  the  solid  structure  of  the  heads  and 
figures,  the  absolute  truth  of  the  values,  the  individual  and  expressive  quality  of  each 
head,  and  the  unison  between  them.  Passing  from  the  drawing  to  the  color,  our 
enthusiasm  is  raised  by  the  harmony  of  intense  velvety  blacks  and  warm  whites  with 
brilliant  carnations,  which  seem  to  have  been  kneaded,  as  it  were,  with  sunshine;  by  the 
shadows  which  bring  the  forms  into  relief  by  an  unerring  perception  of  their  surfaces  and 
textures;  and,  finally,  by  the  general  harmony,  the  extraordinary  vivacity  of  which  can 
only  be  appreciated  by  comparing  it  with  the  surrounding  canvases.    .    .    . 

'*  Never  before  had  Rembrandt  achieved  such  perfection;  never  again  was  he  to  repeat 
the  triumph  of  that  supreme  moment  when  all  his  natural  gifts  joined  forces  with  the  vast 
experiences  of  a  life  devoted  to  his  art,  in  such  a  crowning  manifestation  of  his  genius. 
Brilliant  and  poetical,  his  masterpiece  was  at  the  same  time  absolutely  correct  and  unex- 
ceptionable. Criticism,  which  still  wrangles  over  « The  Night  Watch,'  is  unanimous  in 
admiration  of  the  'Syndics.'  In  it  the  colorist  and  the  draughtsman,  the  simple  and 
the  subtle,  the  realist  and  the  idealist  alike  recognize  one  of  the  masterpieces  of  painting." 

THE     PRINCIPAL     PAINTINGS     OF      REMBRANDT,      WITH     THEIR 
PRESENT     LOCATIONS 

AMSTERDAM,  Ryks  Museum:  Sortie  of  the  Civic  Guard  ("The  Night  Watch") 
(Plate  V)j  Rembrandt's  Father;  Young  Lady;  Syndics  of  the  Cloth  Guild  (Plate  x); 
Jewish  Bride;  Anatomy  Lesson  of  Dr.  Deyman;  Elizabeth  Bas  (Plate  vn)  —  Amsterdam, 
Six  Collection:  Burgomaster  Six;  Anna  Vymer;  Ephraim  Bonus;  Joseph  Interpreting 
his  Dreams  —  Antwerp  Museum:  Eleazar  Swalmius  (Plate  vi)  —  Berlin  Gallery 
Money-Changer;  Judith,  or  Minerva;  Rape  of  Proserpina;  Two  Portraits  of  Rembrandt 
Samson  Threatening  his  Father-in-Law;  Saskia;  A  Rabbi;  Wife  of  Tobit;  Joseph's  Dream 
Susannah  and  the  Elders;  Daniel's  Vision;  Minister  Anslo  and  a  Widow;  Joseph  and 
Potiphar's  Wife;  Old  Man,  study;  Jacob  Wrestling  with  the  Angel;  Moses  Breaking 
Tables  of  Law;  John  the  Baptist  Preaching;  Hendrickje  Stoffels  —  Boston,  Art  Museum: 
Dr.  Nicolaas  Tulp;  Wife  of  Dr.  Tulp  —  Brunswick  Gallery:  Unknown  Man;  Por- 
trait of  Woman;  Warrior;  Stormy  Landscape;  Noli  me  tangere;  Family  Group  —  Brus- 
sels Museum:  Portrait  of  Man;  Old  Woman — Cassel  Gallery:  Portrait  of  Man; 
Three  Portraits  of  Rembrandt;  Three  Portraits  of  Old  Men;  Head  of  Old  Man;  Portrait 
said  to  be  Coppenol;  Jacob  blessing  the  Sons  of  Joseph;  Man  in  Armor;  Saskia  (Plate  iv); 
Jan  Herman  Krul;  Holy  Family;  Winter  Landscape;  The  Ruin;  Portrait  of  Bruyningh; 
Young  Woman  —  Chicago,  Art  Institute:  Young  Girl  —  Dresden,  Royal  Gal- 
lery: Saskia;  Portrait  of  Man;  Willem  Burchgraeff';  Capture  of  Ganymede;  Rembrandt 
and  Saskia;  Samson's  Wedding  Feast;  Sportsman  with  Bittern;  Saskia  Holding  a  Pink; 
Sacrifice  of  Manoah;  Old  Woman  Weighing  Gold;  Young  Man;  Three  Portraits  of  Old 
Men;  Entombment;  Portrait  of  Rembrandt  —  Dublin,  National  Gallery:  Shepherds 
at  Night;  Two  Portraits  of  Men  —  Dulwich  Gallery:  Young  Man;  Girl  at  Window 
—  Edinburgh,  National  Gallery:  Young  Woman  in  Bed  —  The  Hague  Gallery: 
Rembrandt's  Mother;  Rembrandt's  Father;  Rembrandt;  Young  Girl;  Presentation  in 
Temple;  Anatomy  Lesson  (Plate  li);  Rembrandt  as  Officer;  Woman  at  her  Toilet;  Susan- 
nah at  the  Bath;  Portrait  believed  to  be  Rembrandt's  Brother;  Man  Laughing  —  Hamp- 
ton Court:  A  Rabbi  —  London,  Buckingham  Palace:  Shipbuilder  and  his  Wife 
(Plate  ix);  Burgomaster  Pancras  and  his  Wife;  Lady  with  Fan;  Christ  and  Mary  Mag- 


ft  em  b  r  a  nH  t  :    3\4 

dalen;  Jewish  Rabbi;  Rembrandt;  Adoration  of  Magi  —  London,  Dorchester  House: 
Martin  Looten;  Man  with  Sword;  Portrait  of  Lady;  Titus  —  London,  Grosvenor 
House:  Salutation;  Gentleman  with  Hawk;  Lady  with  Fan;  Nicholas  Bercham  and  his 
Wife;  Rembrandt;  Landscape  —  London,  Ilchester  House:  Rembrandt  in  Oriental 
Dress — London,  National  Gallery:  Old  Woman;  Portrait  of  Man;  Ecce  Homo; 
Rembrandt  (bis);  Woman  taken  in  Adultery;  Adoration  of  the  Shepherds;  Woman 
Bathing;  A  Rabbi;  Old  Man;  A  Monk;  Portrait  of  a  Woman;  Jewish  Merchant;  Land- 
scape; Christ  taken  from  the  Cross;  A  Burgomaster;  Portrait  of  Old  Lady  —  London, 
Wallace  Collection:  Burgomaster  Pellicorne  and  his  Son;  Wife  and  Daughter  of 
Pellicorne;  Good  Samaritan;  Rembrandt's  Mother;  A  Boy;  Landscape;  Rembrandt  (bis); 
Young  Negro;  Young  Man;  Old  Man;  Unmerciful  Servant  —  Madrid,  The  Prado: 
Queen  Artemisia  (or  Cleopatra)  —  Munich  Gallery:  Holy  Family;  Descent  from  the 
Cross;  Elevation  of  the  Cross;  Ascension;  Entombment;  Resurrection;  Sacrifice  of  Isaac; 
Adoration  of  Shepherds;  Rembrandt;  A  Turk  —  New  York,  Havemeyer  Collection: 
Portraits  of  a  Burgomaster  and  his  Wife;  Old  Woman;  Paulus  Doomer  ("  The  Gilder  ") 
—  New  York,  Metropolitan  Museum:  Man  with  a  Broad  Collar;  Old  Man;  The 
Mills;  Adoration  of  the  Shepherds  —  Paris,  Louvre :  Philosopher  in  Meditation  (bis); 
Rembrandt  (Page  ao);  Three  Portraits  of  Rembrandt;  Angel  Raphael  Leaving  Tobit; 
Christ  at  Emmaus  (Plate  vm);  Good  Samaritan;  Carpenter's  Home;  Saint  Matthew;  Young 
Man;  Venus  and  Cupid;  Slaughter-House;  Bathsheba;  Hendrickje  StofFels;  Three  Por- 
traits of  Men  —  Paris,  M.  Rodolphe  Kann's  Collection:  Head  of  Christ;  Titus;  A 
Rabbi;  Young  Woman;  Old  Woman  (bis)  —  Paris,  Baron  Gustav  de  Rothschild's 
Collection:  Martin  Daey;  Wife  of  Martin  Daey;  Standard-Bearer  —  St.  Petersburg, 
Hermitage:  Rembrandt's  Father;  Portrait  of  a  Man;  Descent  from  the  Cross;  Incredulity 
of  St.  Thomas;  Jewish  Bride;  Sacrifice  of  Isaac;  Oriental;  Danae;  Man  with  Fur  Cap, 
called  Sobieski  (Plate  i);  Young  Man;  Parable  of  Master  of  the  Vineyard;  Five  Por- 
traits of  Old  Women;  David  and  Absalom;  Holy  Family;  Portrait  of  Man;  Abraham 
Receiving  Angels;  Sons  of  Jacob;  Disgrace  of  Hainan;  Pallas;  Hannah  and  Infant  Sam- 
uel; Girl  with  Broom;  Old  Jew;  Three  Portraits  of  Old  Men;  Joseph  and  Potiphar's 
Wife;  St.  Peter's  Denial;  Young  Woman;  Young  Woman  Trying  on  Earring;  Portrait 
of  Man;  Young  Man;  Jeremias  de  Decker;  Prodigal  Son;  Old  Jew — Vienna,  Imperial 
Gallery:  Portrait  of  Man;  Portrait  of  Woman ;  St.  Paul;  Rembrandt  (bis);  Rembrandt's 
Mother;  Young  Man  Singing — Vienna,  Liechtenstein  Gallery:  Portrait  of  Saskia, 
or  Rembrandt's  Sister;  Young  Girl  at  her  Toilet;  Portrait  of  Man;  Portrait  of  Lady 
(Plate  in);  Rembrandt. 


&emfirantit  Btfcltojjrapfjp 

A     LIST     OF     THE     PRINCIPAL     BOOKS     AND     MAGAZINE     ARTICLES 
DEALING     WITH     REMBRANDT     AND      HIS     SCHOOL 

AMAND-DURAND.  CEuvre  de  Rembrandt.  (Paris,  1880)  —  Bell,  M.  Rembrandt 
van  Rijn  and  his  Work.  (London,  1 899) — Blanc,  C.  L'  CEuvre  complet  de  Rembrandt. 
(Paris,  1880)  —  Bode,  W.  Studien  zur  Geschichte  der  hollandischen  Malerei.  (Bruns- 
wick, 1883)  —  Bode,W.  Rembrandt  Hermanszoon  van  Rijn.  (Paris,  1898)  —  Bode,  W. 
L' CEuvre  complet  de  Rembrandt.  (Paris,  1897)  —  Bredius,  A.  Les  chefs-d' ceuvre  du 
Musee  royal  d' Amsterdam.  (Paris,  1890)  —  Bredius,  A.  Die  Meisterwerke  der  Konig- 
lichen  Gemalde  Galerie  im  Haag.  (Munich,  1890)  —  Burger,  W.  Les  Musees  de  Bel- 
gique  et  Hollande.  (Paris,  1862)  —  Busken-Huet.  Het  Land  van  Rembrandt.  (Harlem, 
1886)  —  CoguEREL,  A.  Rembrandt  et  l'lndividualisme  dans  l'Art.  (Paris,  1869)  — 
Cundall,  J.  Life  and  Genius  of  Rembrandt.  (London,  1867)  —  Dargenville.  Abrege 
de  la  Vie  des  plus  fameux  peintres.  (Paris,  1745)  —  Dutuit,  E.  L'CEuvre  complet  de 
Rembrandt.  (Paris,  1880)  —  Fromentin,  E.  Les  Maitres  d'autrefois.  (Paris,  1877)  — 
Galland,  C.    Geschichte  der  hollandischen  Baukunst  und  Bildnerei.    (Leipzig,  1890)  — 


36  $£a£ter£    in    ^t  r  t 

Haden,  F.  S.  Etched  Work  of  Rembrandt.  (London,  1879)  —  Hamerton,  P.  G, 
Etching  and  Etchers.  (London,  1868)  —  Havard,  H.  L'Art  et  les  artistes  hollandais. 
(Paris,  1879)  —  Hoogstraten,  S.  van.  Inleyding  tot  de  hooge  School  der  Schilderkunst. 
(Rotterdam,  1678)  —  Houbraken,  A.  De  groote  Schoubourg  der  nederlandtsche  Kont- 
schilders.  (Amsterdam,  1718)  —  Humphreys,  N.  Rembrandt's  Etchings.  (London, 
1871)  —  Immerzeel,  J.  Lofrede  op  Rembrandt.  (Amsterdam,  1841)  —  Knackfuss-,  H. 
Rembrandt.  (Leipzig,-**^-)  —  Kugler,  F.  T.  Handbook  of  Painting:  the  German,. 
Flemish,  and  Dutch  Schools.  Revised  by  J.  A.  Crowe.  (London,  1874)  —  Langbehn. 
Rembrandt  ais  Erzieher.  (Leipzig,  1&90)  — Lemcke,  C.  Rembrandt  van  Rijn  [In  Dohme's 
Kunst  und  Kiinstler,  etc.].  (Leipzig,  1877)  —  Michel,  E.  Rembrandt:  sa^*i^-*on 
ceuvre,  et  son  temps.  (Paris,  1893)  —  MtCHEL,  E.  Rembrandt:  His  Life,  His  Work,  and 
His  Time.  Trans,  by  Florence  Simmonds.  (London,  1894)  —  Middleton,  C.  H.  A  De- 
scriptive Catalogue  of  the  Etched  Work  of  Rembrandt.  (London,  1878)  —  Mollett,  J. 
W.  Rembrandt.  (London,  1879)  —  Orlers,  J.  Beschryving  der  Stad  Leiden.  (Leyden, 
1641)  —  Riegel,  H.  Beitrage  zur  niederlandischen  Kunstgeschichte.  (Berlin,  1882)  — 
Scheltema,  P.  Rembrandt,  Discours  sur  sa  vie  et  son  genie.  (Paris,  1 866)  —  Springer,  A. 
Bilder  aus  der  neueren  Kunstgeschichte.  (Bonn,  1866)  —  Van  Dyke,  J.  C.  Old  Dutch 
and  Flemish  Masters:  Engravings  by  T.  Cole.  (New  York,  1895)  —  Vosmaer,  C. 
Rembrandt:  sa  vie  et  ses  ceuvres.  (Paris,  1877)  —  Wedmore,  F.  Masters  of  Genre 
Painting.    (London,   1880). 

magazine  articles 

ACADEMY,  vol.  38:   The  Dansaert  Portrait  (C.  Monkhouse).    vol.  44:  Paintings- 
by  Rembrandt;  the  Holford  Collection  (F.  Wedmore).   vol.  46:  Ashburnham  Picture 
by  Rembrandt  (C.  H.  Middleton- Wake)  —  Art  Journal,  vol.  46:  The  Great  Master 

—  Rembrandt  (H.Ward).  VOL.  50:  Rembrandt  Exhibition  at  Amsterdam  —  Athen^um,. 
1894:  Michel's  and  Simmonds's  Life  of  Rembrandt.  1899:  A  New  Rembrandt  (J.  C. 
Robinson).  1899:  A  New  Rembrandt  (M.  Bell)  —  Blackwood's  Magazine,  vol.  44: 
Rembrandt  and  the  Dutch  School  —  Century  Magazine,  vol.  47:  Rembrandt  (M.  G. 
Van  Rensselaer)  —  Contemporary  Review,  vol.  43:  Gospel  History  According  to 
Rembrandt  (R.  Heath)  —  Dial,  vol.  16:  Rembrandt  (J.  C.  Van  Dyke)  —  Edinburgh 
Review,  vol.  150:  Works  of  Rembrandt  —  Fortnightly  Review,  1894:  Life  and 
Works  of  Rembrandt  (W.  Armstrong)  —  Gazette  des  Beaux-Arts,  1875:  Les  Eaux- 
fortes  de  Rembrandt  (G.  Duplessis).  1879:  A  propos  de  deux  Tableaux  de  Rembrandt 
(H.  Havard).  1880:  L'CEuvre  grave  de  Rembrandt  (L.  Gonse).  1885:  LTnauguration 
du  nouveau  Musee  d' Amsterdam  (L.  Gonse).  1885:  L'CEuvre  de  Rembrandt  (L.  Gonse). 
1887:  Les  nouveaux  Documents  hollandais  sur  la  Ronde  de  Nuit  (E.  Durand-Greville). 

(~\%%<)\  Le  Nettoyage  de  la  Ronde  de  Nuit  (E.  Durand-Greville).  1890:  La  Jeunesse  de 
^Rembrandt  (E.  Michel).  1892:  Rembrandt  et  l'Artltalien  (E.  Miintz).  1893:  Rembrandt 
d'apres  un  Livre  nouveau  (L.  Gonse)  —  Good  Words,  vol.  35:  Rembrandt  and  his. 
Work  (J.  M.  Gray) — Jahrbuch  der  Preussischen  Kunstsammlungen,  1892:  Rem- 
brandt's Predigt  Johannes  des  Taufers  (W.  Bode).  1894:  Entlehnungen  Rembrandts 
(C.  Hofstede  De  Groot).  1895:  Rembrandt's  Bildnis  des  Mennoniten  Anslo  (W.  Bode). 
1897:  Die  Bildnisse  der  Saskia  van  Uylenborch  (W.  Bode)  —  Magazine  of  Art,  vol.  8- 
The  Book  of  Rembrandt  (W.  E.  H.).  vol.  16:  Rembrandt's  "Hendrickje  StofFels" 
(J.  F.  White).  VOL.  23:  Rembrandt  (W.  Armstrong),  vol.  23:  Rembrandt  Exhibition 
at  the  British  Museum  (R.  A.  M.  Stevenson)  —  Nation,  vol.  58:  Rembrandt  (K.  Cox). 
vol.  67:  Rembrandt  Exhibition  at  Amsterdam  (E.  R.  Pennell).  VOL.  68:  Rembrandt  in 
London  (E.  R.  Pennell).  vol.  68:  Rembrandt  at  the  British  Museum  (E.  R.  Pennell)  — 
North  American  Review,  vol.  170:  The  Picture  Gallery  of  the  Hermitage  (C.  Phillips) 

—  Outlook,  vol.  53:  Sketch  of  Rembrandt  (E.  F.  Baldwin) — Portfolio,  1894:  Etch- 
ings of  Rembrandt  (J.  B.  Atkinson).  1892:  Rembrandt  (W.  Armstrong).  1894:  Etch- 
ings of  Rembrandt  (P.  G.  Hamerton)  —  Quarterly  Review,  vol.  179:  Rembrandt  and 
His  Art — Saturday  Review,  vol.  77:  Michel's  Life  of  Rembrandt  —  Zeitschrift  fur 
Bildende  Kunst,  1892:  Rembrandt's  Radierungen  (W.  von  Seidlitz).  1898:  Rembrandt's 
Bildnis  seines  Bruders  (F.  Laban).  1899:  Kritische  Bemerkungen  zur  Amsterdamer 
Rembrandt-Ausstellung  (A.  Bredius). 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 
BERKELEY 

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UNIVERSITY  OF  CALIFORNIA  UBRARY 


REMBRANDT 


PAINTINGS 

643   PICTURES 

Price,  net    .    $3.50 

Postage,  50  cents  additional 


ETCHINGS 

402   PICTURES 

Price,  net    .    $2.00 

Postage,  32  cents  additional 


THESE  two  books  are  in  the  German  series  of  mono- 
graphs upon  the  great  painters,  published  under  the 
title,  KLASSIKER  DER  KUNST.  The  pictures 
are  preceded  by  a  biographical  sketch  (in  German).  The 
size  of  the  book  is  8  x  10^  inches;  the  binding,  full  cloth. 
Prices  quoted  are  net,  and  postage  must  be  added  for  mail 
orders.    The  full  list  of  subjects  thus  far  published  follows: 


(643 


I  Raphael  (275  pictures) 

II  Rembrandt,    Paintings 

pictures)     .     .     . 

III  Titian  (274  pictures)   . 

IV  Diirer  (473  pictures)    . 
V  Rubens  (551  pictures) 

VI  Velasquez  (172  pictures) 

VII  Michelangelo  [(169  pictures) 

VIII  Rembrandt,    Etchings    (402 

pictures)     .... 

IX  Schwind  (1,265  pictures) 

X  Correggio  (196  pictures) 

XI  Donatello  (277  pictures) 

XII  Uhde  (285  pictures)     .     . 

XIII  Van  Dyck  (537  pit^res) 

XIV  Memlinc  (197  pictures)    . 
XV  Thoma  (874  pictures) 

XVI  Mantegna  (270  pictures) 

XVII  Rethel  (280  pictures) 


$2.00,  postage  extra,  28  cents 


3-5o 

i-75 
2.50 
3-00 

1.75 
1.50 

2.00 
3-75 
1-75 
2.00 
2.50 
3-75 
i-75 
3-75 
2.00 
2.25 


50 
28 

38 
44 
25 
26 

32 
56 

25 
28 

34 
48 
28 
52 
28 
28 


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